If there's one thing you can say about cinephiles, it's that we're usually way too critical of the tireless filmmakers who pour their hearts and souls into failed projects. Needless to say, many filmmakers can get pretty darn discouraged, and slither away to solitude. Remarkably, however, it seems there's at least one guy out there who refuses to lie down and take our cinephile shit! Instead he's chosen to listen carefully, embrace fan creativity -- and decode sometimes indecipherable online comments! Director Craig Singer is leading a cult of bloodthirsty fans ready to pitch ideas, screen test and mock up posters for his latest horror project. In 2007, Singer, along with After Dark films and Massify.com, went on the prowl for enthusiastic horror filmmakers, to enlist their help in creating the first fan-created horror film ever. Out of hundreds of submissions, Jeremy Donaldson's pitch about a cult of psycho-killers prevailed, and became Perkins 14, and it hits DVD today as part of After Dark's Horrorfest III. Singer is no stranger to the Horrorfest world though: in 2006 he directed the well-received Dark Ride, starring Jamie-Lynn Sigler (of The Sopranos) and Patrick Renna (Ham in The Sandlot). Recently, we had the opportunity to chat with Singer, who told us about a slew of upcoming horror projects he's involved with, including a top-secret cult remake he’s working on and another fan-created horror film tentatively titled Fear 101. He even alluded to the fact that he’ll be directing another Horrorfest title, since he's signed a two-picture deal with After Dark. Perkins 14 was number 1 -- so what’s number 2? Hit the jump for the full interview!

In 2006 you got involved with the first Horrorfest with Dark Ride and now you’re back for Horrorfest III with Perkins 14. How did you first get involved in the Horrorfest phenomenon?
The original involvement with Horrorfest came about because I directed a film, A Good Night To Die. The film premiered at the Cannes Film Festival and it also had a screening at the Tribecca Film Festival. At the Cannes Film Festival, a Lionsgate Film executive came up to me after he saw the film and asked what I was going to do next. So I told him I was working on a horror film, and he said, "Well, we’re your partners." So that’s how Dark Ride was born. We shot Dark Ride at Universal Studios. It was acquired by Courtney Solomon at After Dark as part of the first Horrorfest. So that’s how I originally got involved.It’s my understanding that Dark Ride was one of the most successful titles of Horrorfest I, so Courtney called and asked if I would be interested in directing something for Horrorfest III. Interestingly enough, at the time, my partner Chris Williams had a relationship with a New York-based company called Massify. And they were looking to create the first fan-crafted horror film in the history of cinema. When Courtney came to me to do a film for them, and we had this relationship with Massify, it just seemed like a good opportunity to bring both parties together and ultimately make Perkins 14.

The poster has an old-school, grungy, grindhouse feel to it…
It has a real grindhouse, retro feel. Out of the 400 poster submissions it was the only poster—I felt so strongly about it, I emailed the submitter. I just wanted to congratulate him, and I never thought in a million years that he’d win because things like that never work out. As luck would have it, he did win, and I had no hand in voting and nothing to do with selection. It was completely organic, and I ended up with this phenomenal, grindhouse, retro horror poster. I’m really pleased with it.

How close to the feel of the actual film is that retro feel?
It’s very close. It’s an authentic grindhouse film and I’m very, very proud of the film. Dark Ride had humor and camp and Perkins is completely the opposite. It’s very psychological and it’s got a lot of subtext to it. There’s a hardcore drama at the base of this film. Also there were no SAG actors, and I’m very proud of the fact that there are a lot of non-professional actors.

The concepts of mind-control and cults of psycho killers are always pretty terrifying, but also largely unique in the horror space. Why do you think it was this concept that was chosen?
The idea was unique and interesting and sort of captured a lot of people’s imagination. We were getting a lot of slasher and ghost stories. His idea was interesting because it touched people on a deep psychological level how it might affect you or how it might affect the lives of those around you. There were a lot of core dramatic possibilities, and it dealt with the psychology of loss.I would argue that [what] some of the fans felt, that the marketing for the After Dark was being too extreme, wasn’t necessarily warranted. I think the films are really great examples of the independent horror scene. Some are bloody and gory and some are suspense and ghost films. They run the gamut of subgenres within the genre. Perkins specifically is a very bloody film [laughs]. It does deliver the gore to that segment of the horror community that really looks for the film to deliver it. It’s very subjective. I haven’t seen the other films, so it’s hard to comment…

It seems like Perkins 14 is a pretty unique film in comparison to the other seven films this year…
It really is. I think also with the fan involvement it’s historic. It’s never been done before in the history of cinema. That’s newsworthy. I wanted to actually shoot the film in Philadelphia, and I fought very hard, but Courtney asked me to be open-minded and shoot in Romania. He actually offered me a two-picture deal if I decided to shoot in Romania, so he made me an offer I couldn’t refuse. [laughs]

Had you shot it in Philadelphia how do you think the look and feel of the film would differ?I’m just a fan of Philly in general, the aesthetic. I’ve always loved Philadelphia and will one day shoot a film in Philadelphia. I’m always looking to match the aesthetic in an organic sort of way to the City of Brotherly Love, just because I’m so comfortable when I’m there and they embrace filmmaking on every level. Geographically it’s very interesting. 

Chris Williams, who is my producing partner, and I are actually doing a film for Warner Bros. called Film 101, which takes the fan involvement to the next level. The fans are going to have a very meaningful opportunity to have a creative voice in the film. The working title right now from Warner Bros. is Fear 101, and I’m going to start that this winter. Maybe we’ll get to shoot that in Philly. You never know…

Will fans be able to get involved online?
Yes they will. We’re really taking the online fan component to the next level and I think it’s going to be something that moves the needle in terms of how films are made involving the fans. It’s going to be something the fans are going to want to embrace wholeheartedly. I think you’re going to see a lot more films including the web and fan inclusion.

Anything specific that you can tell us about…
I’m not at liberty to go deep but I promise as soon as we announce it, we’ll give you a peak in the basket…

Do you plan to direct Fear 101 as well?
I do plan to direct. Yes.

With Fear 101 being your second fan-generated film, could you speak to some of the advantages or disadvantages of the process?
I started as a fan. Not only [in] filmmaking, but horror. I didn’t have money for film school, so I picked up a camera and I was the kid that would drive 24 hours to be on a film set and stand next to the 35mm camera and watch and learn, so I have a lot of respect for the fans. I have an appreciation of the opportunity that the web and online participation affords them. To answer your question about the good and the bad, I’m a fan of creative energy, and I feel like you should embrace that energy. I feel like there are a lot of creative people out there that just don’t have the network or the opportunity or the tools they need to get to the next step. I feel like a lot of people who are the “experts” in Hollywood, the smart guys in the room, think they have the answers and they really don’t. Usually, when you see the breakout independent horror films come from the passion of a couple guys and a camera in the middle of the woods, what happens is the studio mucks it up with the sequels and prequels. I think that the cream does rise to the top, and good ideas will bubble up and rise above the white noise of what’s out there. I don’t see much downside.

Do you have anything else aside from Fear 101 coming up in the near future?
There’s a very well-known cult horror remake that I’m involved in. I can’t tell you the name of it but it’s something that you’re definitely familiar with.

Can you give us a hint?
I can’t. [Laughs.] I’m sorry. It’s a big one and it’s something we’re going to work on after Fear 101. That’ll keep me busy for a while.

You also mentioned that you signed on for a two-picture deal.
It’s probably too early, since I have the obligation to do the film for Warner Bros [Fear 101]. I don’t have anything for it yet, but I will as soon as I get the green light.

What is your biggest fear?
That’s a great question, but I guess it depends on any given day of the week. My friends know me as a bit of a hypochondriac, so I deal with my inner demons on an hourly basis [laughs].